Month: March 2020

ARTICLE ABOUT The Who FROM New Musical Express, December 24, 1966

A very early article with this band that recently released a new album. Nice to read this from so long time ago. Read on!


Who`s for a Merry Xmas!

By Keith Altham
Who`s for a merry Christmas, then – if we are to judge by their seasonal bounce up into the NME Top Twenty this week with “Happy Jack,” the newest composition from the bizarre pen of Pete Townshend.

Looking slightly the worse for wear due to having been full of the festive “spirit” the previous night at London’s new in-club, the Bag O’ Nails, John Entwistle was not optimistic about their prospects of a No. 1 hit when I located the group at Ryemuse recording studios last Friday.
“No chance with the Seekers’ new single,” expostulated John. “We’re always beaten to the top by the dead or the half dead. Good old Jim Reeves did it on us last time, and before that it was the singing pimple, Ken Dodd!”
Mr. Entwistle was not, apparently, convinced that this is the season of goodwill toward all men!
“I’ve got a list of people to insult written down on me sock,” obliged the bug-eyed Keith Moon, rolling up his trouser-leg to select a likely candidate. He was forestalled by being recalled to the studio to tape “Please Don’t Touch” for tonight’s “Ready, Steady, Go!” Christmas edition.
We were treated to some stereo-ed cockney from Keith in the control room, as he counted the group to start with “One, two, free.” What Pete had described as “The Who’s new sound” and was, in fact, their version of a very old rock sound, echoed about the room. They were to have recorded “Rock Around The Clock” for the show, but a change of plan was evident.


Manager Kit Lambert got RSG producer Francis Hitchens on the phone after explaining to a secretary that he just wanted a word with Francis for “the teensiest-weensiest minute” which was sufficient time for him to persuade Francis he ought to have “Please Don’t Touch” and not “Rock Around The Clock.” Which was just as well, seeing they had just recorded it!
The boys trooped back into the control room, and Pete proved informative over the origins of “Happy Jack, who lived in sand on the Isle of Man.”
“My father used to play saxophone in a band for the season on the Isle of Man when I was a kid,” said Pete. “There was no character called `Happy Jack,’ but I played on the beach a lot, and it’s just my memories of some of the weirdos who live out on the sand.”
At this point someone announced that there was a policeman in the reception complaining about someone’s car being an obstruction, so Pete strolled out and was not seen again. Which left me with that well-known pantomime team of Moon and Entwistle. What were they doing over Christmas?
“I shall buy a copy of `Mary’s Boy Child,’ stay home and pick nuts out of me cavities,” mourned John.
“I shall watch Walt Disney and buy a new copy of `The Hallelujah Chorus,’ ” breezed Mr. Moon.
“My copy’s a bit scratched,” nodded John.
Did the two jolly satirists consider Christmas too commercial now?
“I agree with whatever Paul Jones said,” announced John.
“I suppose I shall have to go out carol singing again,” moaned Keith.
Were they sorry that this was the last Christmas RSG?
“No, it was getting a drag, and anyway Cathy McGowan can always do toothpaste adverts,” said John, consolingly.
“Vicky Wickham can go into mass production,” added Keith.
“Francis Hitchens can join the Beach Boys,” capped John.


What changes would the New Year bring for the Who? And were they concerned over the possibility the Beatles might break up?
“Not as long as there are people like us — with imagination, drive and vigour — to carry on,” John replied.
“We’re planning some shock publicity pictures of the group,” confided Keith, ” to combat those meat pix of the Beatles, and the Stones photos in drag. We’ve got a big close-up of Pete having his finger nail bent backwards, and one of a one-eared Roger standing next to a self-portrait of Van Gogh.”
There was a short departure from the script when Kit Lambert announced that he wanted all the boys to draw portraits of each other for a “Top Of The Pops” film to be directed by Michael Lyndsay Hogg.
“Isn’t he an American?” said Keith, suspiciously. “And who am I drawing?”
“Roger,” said Kit.
“Thanks,” said Keith, but looked far from festive about it.
“Who am I doing?” asked John.
“Pete,” decided Kit.
“Good — he’s easy,” affirmed John.
There followed a rather puzzling story from Keith — for no apparent reason — about how he and John sat eating a Chinese meal in a Cologne restaurant recently while co-manager Chris Stamp and Pete got beaten up. “Every time they fell down to the floor they could see us ignoring it all and eating our meal a table away,” said Keith, delightedly.


Why were they attacked?
“I think it was because we’re just such good-looking boys, and they were jealous,” said Keith, innocently.
Finally John observed: “You know, some people have said that they preferred the flipside of the new single. Oh, sorry, that just slipped out!”
It transpired that John wrote the flipside, “I’ve Been Away,” which is “a waltz inspired by Victor Silvester,” he says.
As I left, Keith attempted to glue a sandwich to my overcoat with a tube of super-glue, but omitted to take the top off the tube! Moon is a must for the Christmas party this year!


The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
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ARTICLE ABOUT Steve Marriott (Small Faces) FROM New Musical Express, December 17, 1966

Small Faces was a very important band of the late 60s. Just look at their members. Marriott later formed another famous band called “Humble Pie” and other members of the Small Faces formed The Faces with Rod Stewart. McLagan even joined Rolling Stones for a little while. Important band? Absolutely, when looking at the evidence!
So I though this article might be of interest for some of you readers out there!
Read on!


Question-time with… Stevie Marriott of the Small Faces

Conducted by Norrie Drummond

STEVIE MARRIOTT, of the Small Faces, was his usual good-natured, excitable little self when I called on him to ask some questions. He answered them honestly, flapping his hands to convey a point and puffing all the time on a tipped cigarette.

Q. “My Mind’s Eye” has been criticised quite a bit recently and many people have noticed a similarity between it and the Christmas song, “Gloria In Excelsis.” How do you feel about this?

A. It’s great! Fabulous! Records are made to be criticised. We love it. “My Mind’s Eye” was originally recorded as an album track but the powers-that-be decided it should be issued as a single. Sure, we nicked it.
Someone said somewhere that the bloke who wrote the song would be turning in his grave if he heard “My Mind’s Eye” — but I’m sure he’d be leaping about. I`ll certainly be chuffed if someone revives one of our songs in a couple of hundred years.

Q. How has your songwriting progressed in the last year?

A. “Plonk” and I now find we can settle down far easier to writing. The ideas now flow much more freely. Now once we start on something we just can’t stop.
Our music is now progressing the way we want it to. But soundwise “My Mind’s Eye” is behind. It’s very pretty but it’s very near boredom.

Q. Have the Small Faces changed much as people in the past year?

A. Of course. You change all along the way. You go around in circles until you eventually come back to where you were. We’ve all changed slightly but just in little ways — not drastically.

Q. How far can the Small Faces progress as a group?

A. Musically we are progressing the way we want to. We have a great time in the recording studio. I would have beds there if I could. I certainly get a greater kick from recording than playing ballroom or concert dates.
When we started I used to love personal appearances but now I would rather be in the studio. As far as recordings are concerned the sky’s the limit.

Q. You were a child actor. Do you ever feel any desire to go back to it?

A. No, never. All those chaperones shepherding us around. We were like little prisoners. It would be different now of course but I’m quite happy doing what I’m doing now.

Q. The Small Faces have received a lot of publicity because you have walked out on concerts and TV shows. Any comments to make?

A. We have been like robots. We didn’t want to become involved in any of these things. We’ve made mistakes, but it should be different in the future.

Q. It was reported some months ago that you were to play the title-role in the musical version of Lionel Bart’s “Oliver.” Then it was announced that the Small Faces would star in a West End Christmas show at Christmas. Both these projects fell through. Then a few weeks ago it was stated that the Small Faces are to star in a film with Jayne Mansfield. What are the chances of this materialising?

A. Oh leave me alone, Norrie! You know as well as I do about these things. The Christmas show to begin with was a ridiculous idea. I knew nothing about playing Oliver until I read it in the papers. And we’ve no wish to be in a film with Jayne Mansfield. All we want to do is continue playing the way we are now.


The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties

ARTICLE ABOUT The Troggs FROM New Musical Express, December 10, 1966

I am going way back here – I know. This is probably one of the oldest music magazines that I have. Even if it is, there is some worthwhile reading in these ancient papers. Some of you may never have heard of this band, but I am sure that a whole lot of of you know their songs – like “Wild Thing” and “Love Is All Around”.
A very special setting for this interview done in Germany, only about 20 years after the second world war.
Read on!


Troggs caged in Berlin zoo

Special by Keith Altham


ERIC BURDON, who is so devoted to the birds in London’s St. James’s Park, would love it here on the twelfth floor of the Berlin Hilton. I am awakened by the sound of the pelicans in the Berlin Zoo below, the scene of the Troggs’ Press reception yesterday. Troggs are pop giants here, creating the kind of fan fervour that the Rolling Stones experienced in their early days.
Their manager Larry Page and I arrived on Saturday to find the group already installed in the hotel, where the big attraction was listening to the local AFN broadcasts beamed to U.S. Servicemen.
These include interruptions like “When you phone your girlfriend don’t talk about your work. She may not be a spy, but the man listening-in is!”
This kind of unhappy comment is a constant reminder that we are staying on an island — a city divided in half in the centre of East Germany. It’s a grim grey city of cement. Ultramodern office blocks dominate and a huge skyscraper is surmounted by a blue-and-silver neon symbol for Mercedes cars, revolving halo-like about us (you can see it in the film, “Quiller”). At night red, blue and green flickering lights cut into the blackness but something seems wrong as you look out toward the horizon.
Reg Presley drew my attention to the fact that from a line parallel to the Reichstag building and beyond, the lights went out almost to the point of a total blackout. This is the dark Eastern sector.
“Frightening, isn’t it?” said Reg. It was chilling.
The Troggs had just completed their Swedish tour with mixed feelings. They had their amplifiers changed to receive continental voltage but it transpired that Sweden is one of the few countries that retains a European system. The amplifiers blew up on the first night!
“Audiences and fans were great,” said Reg. “In Stockholm we played a club and later the manager said it was the first time in four years he had heard screaming there.”

Saturday afternoon was spent chatting in the hotel and apart from Pete Staples and I being politely ejected from the bar for not wearing ties there were no major international incidents.
The evening provided an interesting excursion to the Eden Playboy club, a lively scene where young people dance and let rip.
An interesting variation in “go go girls” was provided by the dancing frauleins, who plunge into a swimming pool (in swim costumes) as the finale to their act. They are joined almost immediately by the more well-lubricated German lads who dive in — in their suits!
The Troggs were well-feted and as guests of honour invited to throw the girls into the pool! This they did with such enthusiasm that everyone shared in the dip!
During the course of the evening Larry Page was announced as their manager and credited with composing “I Can’t Control Myself”, which amused Reg (who wrote it). A German interpretation of “Wild Thing” was played, called “Lisbeth”.
The Sunday morning Press reception in the Berlin Zoo provided onlookers with free entertainment as the Troggs posed in an animal cage while a zoo keeper offered them a hunk of raw meat!
One four-year-old young fraulein was torn to distraction between the relative merits of a grizzly bear and Pete Staples opposite, who appeared to be wearing the animal’s mother!
Pete’s new full-length fur coat (see picture) is the subject of much amusement in the group and his version of Bud Flanagan’s “Underneath The Arches”, dressed in this ensemble and strolling down the Budapest-strasse, has to be seen to be believed!
After a short meander among the zebras, monkeys and seals for the benefit of photographers, we returned to a hot meal, provided in the grounds by our hosts, the Hansa Record Company, which issues the Troggs in Germany.



Over a lunch which included such delicacies as kanoodles (dumpling-like objects of unknown origin) and goulash, Chris Britton stressed the need to keep a sense of humour to relieve tension while on these never-rest tours.
“We’ve worked up a number of good routines,” he revealed. “Pete’s `Long John Silver’ is now nothing short of a masterpiece and Ronnie does a nice ‘Wilfred Pickles’, while Reg has developed a genius for relieving moments of sheer terror — like when the amps blew up! — by underestimating the situation with a camp ‘Whoops!'”
From the zoo we shot off to the huge Deutchlanderhaller, which seats 10,000 people and is a striking contemporary version of our own Wembley Empire Pool.
“The Germans are well organised,” said Reg. “We’ve come up against same bungling in certain parts of Scandinavia, but here they get things done. We ask for something and it’s no problem. There’s no discussion, no fuss, just action. And Hans Blume, from Hansa Records, has chaperoned us about like we were his own babies.”
Also on the concert was Graham Bonney, who got to No. 1 in the German charts with “Super Girl” and stayed in for over six weeks. He had some interesting things to say about his new single as he signed pieces of paper, bare limbs and photographs thrust at him by those lucky and enterprising enough to get into rehearsals.
“I’ve just recorded a Bruce Johnston composition, `Thank You Baby’,” Graham told me.
“There’s naturally a lot of Beach Boy influence in it and Bruce himself helped produce the session for me. It should be out about the second week in January. I’m knocked out about it.
“Bruce and I became friendly while on tour here in Germany about a month ago and he agreed to help me with the song. Such a modest guy, isn’t he?” I agreed.
The concert was a storming success, with Graham Bonney, ably backed by the Remo Four, giving a swinging performance.
Then the Hollies presented their usual slick brand of musicianship and well-balanced programme — “Taste Of Honey”, Chuck Berry’s “Too Much Monkey Business”, and the Four Tops’ “Reach Out, I’ll Be There” (Which Graham Nash informed the 9,000 audience they were thinking of recording before finding it at. No. 10 in the British charts after returning from the U.S.) and “Stop, Stop, Stop”.
Next we got a group called the Boots, who stamped about a bit, with one fellow dressed up as a Martian, sporting an antenna!


Opening up with “Louie Louie” to a clap that sounded as if it had been stolen from the World Cup final — only the shout was “TROG-GUZ” and not “ENG-GLAND!” — our Troggs had the audience greeting their “I Can’t Control Myself” and “With A Girl Like You” with frenzied delight. After other songs, they ended with ” Wild Thing,” which made the crowd just that!
An announcement by a back-stage official declared that British groups were unfair to them because they request the lights dimmed. 9,000 fans voiced their disagreement and so did manager Larry Page — and that was enough to ensure the lights went down.
They went up again with any movement in the crowd and had it not been for that and poor sound balancing, which prevented the vocals reaching the back, the Deutchlandhaller would have had the kind of scene on their hands which had only previously been experienced by the Beatles and the Stones.


The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT John Lennon (The Beatles) FROM New Musical Express, December 13, 1969

Yes, I know it wasn`t long ago since my last reprint of a Lennon interview, but this one was unavoidable. They absolutely were on the brink of splitting and they did make some very good albums solo after the Beatles. In a lot of ways that was a good thing as we got to have more great albums to listen to, but you always ask; “What if…?”
Read on!


Beatles are on the brink of splitting

One group is just not big enough for all this talent

By Alan Smith

I MAY be wrong, and I hope I am, but these are dark days for the Beatles. I begin to wonder how much longer their association can stand the strain of their own individual talent.
JOHN LENNON pulls toward Peace and his Plastic Ono Band; RINGO Pulls toward a bigger and better film career; GEORGE HARRISON jumps toward his own prolific songwriting; and PAUL McCARTNEY pulls himself away to Scotland, his own songs . . . and silence.
Certainly, John and Paul are on opposite sides of a heavy wall of difference and self-inflicted gloom. And the bond between them can hardly have been more weak, or their opposing interests more strong.
A few days ago John and Yoko and I talked in a one-hour fifteen minute exclusive interview for NME (partly filmed for BBC-1’s look at the world of John and Yoko Lennon in ” 24 Hours”), and during that time he gave me frank answers to this mental rift with Paul and the present state of the Beatles.
He was pleasant, together, straightforward, mellow and resolute, and only in references to Paul did his voice drop in doubt.
He told me: “Paul and I both have differences of opinion on how things should be run. But instead of it being a private argument about how an LP should be done, or a certain track, it’s now a larger argument about the organisation of Apple itself.
“Whether we both want the same thing from Apple in the end is a matter of opinion. But how to achieve it — that’s where we digress.
“Mainly, we disagree on the Klein bit. But you know, I don’t really want to discuss Paul without him here. It’s just that as far as I can see, Paul was always waiting for This Guy to just appear and come and save us from the mess we were in.

Pull out

“And we were in a mess, and only my saying it to the Press that time enabled Klein to hear about it and come over.
“I’m a quarter of this building, and it became a question of whether I should pull my money out if I could — which I probably can’t.
“I did say I wanted out at one time. It was just that all my income was going in to Apple and being wasted by the joy-riding people who were here. In fact, that was just the minute bit of it. I just wanted it to stop.
“It’s no use pretending we can be here all the time when that kind of thing is going on. We needed a business man. No Beatle can spend his days here checking the accounts.
“There was also the question of the four of us holding different opinions on different things, and the staff not knowing where they where or who to listen to.
“I know that’s what’s going on all the time. People come to me and say `Paul wants this done, what do you think?, `and they know damn well what I think and they say `alright,’ and then they go to Paul and say John wants this done, he’s off again.



“The result is that we kept sending in different instructions and nothing was being done. Like people anywhere, they were getting away with what they could. We were naive and stupid.
“What I want is for the freeloading to stop, but the old Apple spirit to remain. The spirit will be there, because if Apple is not a problem to the Beatles — which it was — it just can’t help but get better.
“Our job is to put the creative side into Apple. If the Beatles never recorded together again, but each put their creative efforts through Apple… that at least would be better than me having a company, Paul having a company, George having a company, and Ringo having a company. “Together we at least have that much more power.
“I know now that the original concept of helping everybody doesn’t work in its purest form. All you get are the bums and freeloaders everybody else turns down.
“The only way we can help other artists at Apple is the same way the Beatles helped other artists … by breaking new barriers. That’s what we didn’t get before. We sat back, and we started to believe our own publicity, to tell ourselves how the Beatles helped people get long hair, and the Beatles started off this, and the other.
“The Beatles split up? It just depends how much we all want to record together. I don’t know if I want to record together again. I go off and on it. I really do.
“The problem is that in the old days, when we needed an album Paul and I got together and produced enough songs for it.

“Nowadays, there’s three of us writing prolifically and trying to fit it all onto one album. Or we have to think of a double album every time, which takes six months.
“That’s the hang-up we have. It’s not a personal ‘The Beatles are fighting’ thing, so much as an actual, physical problem.
“What do you do? I don’t want to spend six months making an album I have two tracks on! And neither do Paul or George, probably. That’s the problem. If we can overcome that, maybe it’ll sort itself out.
“None of us want to be background musicians most of the time. It’s a waste. We didn’t spend ten years making it to have the freedom of recording studios, to be able to have two tracks on an album.
“It’s not like we spend our time wrestling in the studio trying to get our own songs on. We all do it the same way . . . we take it in turns to record a track. It’s just that usually in the past, George lost out. Because Paul and I are tougher.
“It’s nothing new, the way things are. It’s human. We’ve always said we’ve had fights It’s no news that we argue. I’m more interested in my songs. Paul’s more interested in his, and George is more interested in his. That’s always been.
“This is why I’ve started with the Plastic Ono and working with Yoko . . . to have more outlet. There isn’t enough outlet for me in the Beatles. The Ono Band is my escape valve. And how important that gets, as compared to the Beatles for me, I’ll have to wait and see.
“You have to realise that there’s a peculiar situation in that if ‘Cold Turkey’ had had the name ‘Beatles’ on it, probably it would have been a No. 1.

“Abbey Road”

“‘Cold Turkey’ has got Ringo and me on, and yet on half the Beatles’ tracks of ‘Abbey Road,’ I’m not on, or half the tracks on the double album — and even way back. Sometimes there might be only two Beatles on a track.
“It’s got to the situation where if we have the name `Beatle’ on it, it sells. So you get to think: ‘What are we selling? Do they buy it because it’s worth it, or just because it says ‘Beatles?’
“George is in the same position. I mean, he’s got songs he’s been trying to get on since 1920. He’s got to make an album of his own. And maybe if he puts ‘Beatles’ on the label rather than George Harrison, it might sell more. That’s the drag.
“Of course we could each make an album and call it ‘The Beatles.’ But that would be cheating. And that’s not my scene.
“Anyway, folks, remember the Plastic Ono Band LP from Toronto released December the 12th, with a nice picture of the sky, and a fab calendar inside of a year’s events with John and Yoko, with poetry and fun.”




ARTICLE ABOUT Pink Floyd FROM New Musical Express, December 13, 1969

Here`s a real goodie for those of you who like the Floyd.
Read on!


Three years ago, when they started Underground they had a rough ride

Pink Floyd have the last laugh

By Nick Logan

When the Tremeloes can talk about playing progressive material then the day is dawning for the complete establishment into pop of a stream of music once laughed at and contemptuously dismissed as a short-lived fad.
Three or so years back when it was all starting, Pink Floyd were getting a rough ride from the pop pundits… but went on to do perhaps more than any other group to open the way for the new breed of pop musicians who in 1969 have made their presence felt in no uncertain manner.
As far as last laughs and all that, Pink Floyd have plenty to chuckle about.
“When we started in UFO it was a beautiful place to play,” recalled Floyd keyboard wizard Richard Wright when we spoke last week. “But when we went outside London nobody wanted to know. People used to throw bottles at us.
“At the same time we had a slight hit with See Emily Play and people expected us to play Top 20 stuff. Instead we came along with this strange music they didn’t understand.
“People just didn’t believe in us; I think they regarded us as a huge joke,” continued Richard without bitterness. “They saw us as a lot of freaks getting up on stage and playing freakish music.
“I’ll never forget Pete Murray saying on ‘Juke Box Jury’ that we were just a cult and would last for six months.”


From the groundwork laid by the Floyd and their contemporaries the whole Underground network, along with the University circuit, built up.
Could Richard forsee the progressive boom? “I knew it would happen some time but I didn’t know if it would happen quickly or slowly.
“I don’t think we could have seen it happening to such an extent where today the Underground is now the overground and Underground groups are getting better money than the teenyboppers.
“Yes I would agree that it is today’s pop music, and it is really nice because there are so many groups playing good music and it is accepted everywhere.”
Everywhere? “Well there are still a few places where a few people will walk out, but generally speaking it just gets better and better.
“Even Glasgow, which you might expect to be an incredibly bad scene for a group like us, is a really beautiful place to play.”
What did Richard think changed it?
It was UFO; it was groups like us and the whole hippie philosphy that was connected with it.
“And because the pop thing was then so shallow and empty and people wanted better things. Now because of it even straight pop is becoming better.
“Audiences now demand that you must he able to play your instrument — it’s not just a question of having a pretty face or wearing way out clothes. I should think it’s pretty hard to establish yourself as a teenybopper group now.
“It’s nice too that what has happened in the past three-four years has encouraged really good musicians to care about what is happening in pop and to form their own bands.
“It is very encouraging to find that what you believe in is commercial.”



After a couple of medium successes with singles, the Floyd dropped away from the market to make their name through albums. Their double set, “Ummagumma,” is at No 9 in this week’s NME Chart.
I asked Richard if the group had any inclinations to return to singles, with the successes of Fleetwood Mac and Jethro Tull in mind.
“Well we had that one hit and then two after that didn’t make it,” he replied. “Then we came to realise that it was not important to get hits and that, in fact, a No 1 for us might be a bit of a drag.
“I find the whole business of pop and Top Of The Pops a drag, and the singles scene is a dying market anyway.
“I’m not putting it down. If we got a single that went to No 1 it might be nice but it wouldn’t be important because that’s not what we are about.”
He see nothing wrong however, with other groups breaking into the singles field; nor does he feel it will do them any harm.
“It is rubbish to say they have gone commercial,” he maintains. “Bands like Jethro Tull and Fleetwood Mac believe in what they are playing and in the end it always comes down to the music.
“It is not a question of a sell-out — it means in fact that pop is growing up.
“From now on I believe pop music will be good music. There will be still more change but the standards have been raised and I cannot see them going down again.”
Pink Floyd, of late, have encountered a great deal of success in the film world with their scores for “The Committee” and “More,” released as their last hit album, and Richard sees this as further proof of the new acceptance for progressive music.
In this field they’ve recently completed the score for a TV cartoon series in the States — the producer asked them to do it after hearing “Saucerfull Of Secrets” — and for an Italian film to be released here in February.
An album of the music will be released at the same time and as the group will be recording a further album later this month there are plenty of Floyd goodies on the horizon.
“Film scores are very hard work,” commented Richard. “On the Italian film we worked solidly day and night for two weeks to produce 20 minutes of music. But it is very satisfying work and we’d like to do more of it.”
He went on to reveal that the score also contains some un-Floydian segments; the group using blues and country and western music at certain points.

New Tour

In February they start a concert tour at London’s Albert Hall and plan to develop more the Azemuth Co-ordinator used on previous dates.
Richard explained it is a stereo system with either four or eight speakers that can be set up around a concert hall so that the audience is completely immersed in the sound — 360 degrees stereo if you like.
They would also like to work with an orchestra. “We want to write a complete work for the orchestra and ourselves so that the group is another part of the orchestra.”
Then, if it is possible, the orchestra would be split up and positioned around the hall — along with the speakers — so the audience would he sitting in the middle of the music.
I don’t think they fear any competition from the Trems with that!